Victor Frankenstein is the Monster in Mary Shelleys Frankenstein Essay

Victor Frankenstein is the Monster in Mary Shelley's Frankenstein   Ã‚  Ã‚  Ã‚  Ã‚  Through out the novel we are under the assumption that the demon in the novel is the man who is disfigured and hideous on the outside. While we view Victor Frankenstein as the handsome and caring victim, even though sometimes a monster cannot be seen but heard. Looks can be deceiving but actions are always true.   Ã‚  Ã‚  Ã‚  Ã‚  We first view Frankenstein’s ignorance while he is busy in his work. He had not visited his family for two straight years. These are the people that love and care about him, yet he does not go home. Not even to visit his own father, the man who pays for his schooling and necessities.   Ã‚  Ã‚  Ã‚  Ã‚  We again view his ignorance and irresponsibility when after spending two years of work on his creature he disowns and abandons the creature. He runs out of the room after seeing the creature come to life. He fled the room because he thought the creature was so hideous, even though he had chosen all the best body parts for its creation. When Frankenstein returns to the house when he â€Å"became assured that my enemy had indeed fled, I clapped my hands for joy†(55). Even after all his work he is ecstatic that this horrible beast has left him.   Ã‚  Ã‚  Ã‚  Ã‚  Victors’ ignorance is viewed again when he does not tell anyone that he has created this monster, and that he is the murderer of William. He does not tell of this creature until his own welfare is on the line. He could have stopped these evil deeds the mons...

Democratic Origins and Revolutionary Writers, 1776-1820 Essay

James Fenimore Cooper (Photo courtesy Library of Congress) The hard-fought American Revolution against Britain (1775-1783) was the first modern war of liberation against a colonial power. The triumph of American independence seemed to many at the time a divine sign that America and her people were destined for greatness. Military victory fanned nationalistic hopes for a great new literature. Yet with the exception of outstanding political writing, few works of note appeared during or soon after the Revolution. American books were harshly reviewed in England. Americans were painfully aware of their excessive dependence on English literary models. The search for a native literature became a national obsession. As one American magazine editor wrote, around 1816, â€Å"Dependence is a state of degradation fraught with disgrace, and to be dependent on a foreign mind for what we can ourselves produce is to add to the crime of indolence the weakness of stupidity. † Cultural revolutions, unlike military revolutions, cannot be successfully imposed but must grow from the soil of shared experience. Revolutions are expressions of the heart of the people; they grow gradually out of new sensibilities and wealth of experience. It would take 50 years of accumulated history for America to earn its cultural independence and to produce the first great generation of American writers: Washington Irving, James Fenimore Cooper, Ralph Waldo Emerson, Henry David Thoreau, Herman Melville, Nathaniel Hawthorne, Edgar Allan Poe, Walt Whitman, and Emily Dickinson. America’s literary independence was slowed by a lingering identification with England, an excessive imitation of English or classical literary models, and difficult economic and political conditions that hampered publishing. Revolutionary writers, despite their genuine patriotism, were of necessity self-conscious, and they could never find roots in their American sensibilities. Colonial writers of the revolutionary generation had been born English, had grown to maturity as English citizens, and had cultivated English modes of thought and English fashions in dress and behavior. Their parents and grandparents were English (or European), as were all their friends. Added to this, American awareness of literary fashion still lagged behind the English, and this time lag intensified American imitation. Fifty years after their fame in England, English neoclassic writers such as Joseph Addison, Richard Steele, Jonathan Swift, Alexander Pope, Oliver Goldsmith, and Samuel Johnson were still eagerly imitated in America. Moreover, the heady challenges of building a new nation attracted talented and educated people to politics, law, and diplomacy. These pursuits brought honor, glory, and financial security. Writing, on the other hand, did not pay. Early American writers, now separated from England, effectively had no modern publishers, no audience, and no adequate legal protection. Editorial assistance, distribution, and publicity were rudimentary. Until 1825, most American authors paid printers to publish their work. Obviously only the leisured and independently wealthy, like Washington Irving and the New York Knickerbocker group, or the group of Connecticut poets known as the Hartford Wits, could afford to indulge their interest in writing. The exception, Benjamin Franklin, though from a poor family, was a printer by trade and could publish his own work. Charles Brockden Brown was more typical. The author of several interesting Gothic romances, Brown was the first American author to attempt to live from his writing. But his short life ended in poverty. The lack of an audience was another problem. The small cultivated audience in America wanted well-known European authors, partly out of the exaggerated respect with which former colonies regarded their previous rulers. This preference for English works was not entirely unreasonable, considering the inferiority of American output, but it worsened the situation by depriving American authors of an audience. Only journalism offered financial remuneration, but the mass audience wanted light, undemanding verse and short topical essays — not long or experimental work. The absence of adequate copyright laws was perhaps the clearest cause of literary stagnation. American printers pirating English best-sellers understandably were unwilling to pay an American author for unknown material. The unauthorized reprinting of foreign books was originally seen as a service to the colonies as well as a source of profit for printers like Franklin, who reprinted works of the classics and great European books to educate the American public. Printers everywhere in America followed his lead. There are notorious examples of pirating. Matthew Carey, an important American publisher, paid a London agent — a sort of literary spy — to send copies of unbound pages, or even proofs, to him in fast ships that could sail to America in a month. Carey’s men would sail out to meet the incoming ships in the harbor and speed the pirated books  into print using typesetters who divided the book into sections and worked in shifts around the clock. Such a pirated English book could be reprinted in a day and placed on the shelves for sale in American bookstores almost as fast as in England. Because imported authorized editions were more expensive and could not compete with pirated ones, the copyright situation damaged foreign authors such as Sir Walter Scott and Charles Dickens, along with American authors. But at least the foreign authors had already been paid by their original publishers and were already well known. Americans such as James Fenimore Cooper not only failed to receive adequate payment, but they had to suffer seeing their works pirated under their noses. Cooper’s first successful book, The Spy (1821), was pirated by four different printers within a month of its appearance. Ironically, the copyright law of 1790, which allowed pirating, was nationalistic in intent. Drafted by Noah Webster, the great lexicographer who later compiled an American dictionary, the law protected only the work of American authors; it was felt that English writers should look out for themselves. Bad as the law was, none of the early publishers were willing to have it changed because it proved profitable for them. Piracy starved the first generation of revolutionary American writers; not surprisingly, the generation after them produced even less work of merit. The high point of piracy, in 1815, corresponds with the low point of American writing. Nevertheless, the cheap and plentiful supply of pirated foreign books and classics in the first 50 years of the new country did educate Americans, including the first great writers, who began to make their appearance around 1825. THE AMERICAN ENLIGHTENMENT The 18th-century American Enlightenment was a movement marked by an emphasis on rationality rather than tradition, scientific inquiry instead of unquestioning religious dogma, and representative government in place of monarchy. Enlightenment thinkers and writers were devoted to the ideals of justice, liberty, and equality as the natural rights of man. Benjamin Franklin (1706-1790) Benjamin Franklin, whom the Scottish philosopher David Hume called America’s â€Å"first great man of letters,† embodied the Enlightenment ideal of humane rationality. Practical yet idealistic, hard-working and enormously successful, Franklin recorded his early life in his famous Autobiography. Writer, printer, publisher, scientist, philanthropist, and diplomat, he was the most famous and respected private figure of his time. He was the first great self-made man in America, a poor democrat born in an aristocratic age that his fine example helped to liberalize. Franklin was a second-generation immigrant. His Puritan father, a chandler (candle-maker), came to Boston, Massachusetts, from England in 1683. In many ways Franklin’s life illustrates the impact of the Enlightenment on a gifted individual. Self-educated but well-read in John Locke, Lord Shaftesbury, Joseph Addison, and other Enlightenment writers, Franklin learned from them to apply reason to his own life and to break with tradition — in particular the old-fashioned Puritan tradition — when it threatened to smother his ideals. While a youth, Franklin taught himself languages, read widely, and practiced writing for the public. When he moved from Boston to Philadelphia, Pennsylvania, Franklin already had the kind of education associated with the upper classes. He also had the Puritan capacity for hard, careful work, constant self-scrutiny, and the desire to better himself. These qualities steadily propelled him to wealth, respectability, and honor. Never selfish, Franklin tried to help other ordinary people become successful by sharing his insights and initiating a characteristically American genre — the self-help book. Franklin’s Poor Richard’s Almanack, begun in 1732 and published for many years, made Franklin prosperous and well-known throughout the colonies. In this annual book of useful encouragement, advice, and factual information, amusing characters such as old Father Abraham and Poor Richard exhort the reader in pithy, memorable sayings. In â€Å"The Way to Wealth,† which originally appeared in the Almanack, Father Abraham, â€Å"a plain clean old Man, with white Locks,† quotes Poor Richard at length. â€Å"A Word to the Wise is enough,† he says. â€Å"God helps them that help themselves. † â€Å"Early to Bed, and early to rise, makes a Man healthy, wealthy, and wise. † Poor Richard is a psychologist (â€Å"Industry pays Debts, while Despair encreaseth them†), and he always counsels hard work (â€Å"Diligence is the Mother of Good Luck†). Do not be lazy, he advises, for â€Å"One To-day is worth two tomorrow. â€Å"Sometimes he creates anecdotes to illustrate his points: â€Å"A little Neglect may breed great Mischief†¦. For want of a Nail the Shoe was lost; for want of a Shoe the Horse was lost; and for want of a Horse the Rider was lost, being overtaken and slain by the Enemy, all for want of Care about a Horse-shoe Nail. † Franklin was a genius at compressing a moral point: â€Å"What maintains one Vice, would bring up two Children. † â€Å"A small leak will sink a great Ship. † â€Å"Fools make Feasts, and wise Men eat them. † Franklin’s Autobiography is, in part, another self-help book. Written to advise his son, it covers only the early years. The most famous section describes his scientific scheme of self- improvement. Franklin lists 13 virtues: temperance, silence, order, resolution, frugality, industry, sincerity, justice, moderation, cleanliness, tranquility, chastity, and humility. He elaborates on each with a maxim; for example, the temperance maxim is â€Å"Eat not to Dullness. Drink not to Elevation. † A pragmatic scientist, Franklin put the idea of perfectibility to the test, using himself as the experimental subject. To establish good habits, Franklin invented a reusable calendrical record book in which he worked on one virtue each week, recording each lapse with a black spot. His theory prefigures psychological behaviorism, while his systematic method of notation anticipates modern behavior modification. The project of self-improvement blends the Enlightenment belief in perfectibility with the Puritan habit of moral self-scrutiny. Franklin saw early that writing could best advance his ideas, and he therefore deliberately perfected his supple prose style, not as an end in itself but as a tool. â€Å"Write with the learned. Pronounce with the vulgar,† he advised. A scientist, he followed the Royal (scientific) Society’s 1667 advice to use â€Å"a close, naked, natural way of speaking; positive expressions, clear senses, a native easiness, bringing all things as near the mathematical plainness as they can. † Despite his prosperity and fame, Franklin never lost his democratic sensibility, and he was an important figure at the 1787 convention at which the U. S. Constitution was drafted. In his later years, he was president of an antislavery association. One of his last efforts was to promote universal public education. Hector St. John de Crevecoeur (1735-1813) Another Enlightenment figure is Hector St. John de Crevecoeur, whose Letters from an American Farmer (1782) gave Europeans a glowing idea of opportunities for peace, wealth, and pride in America. Neither an American nor a farmer, but a French aristocrat who owned a plantation outside New York City before the Revolution, Crevecoeur enthusiastically praised the colonies for their industry, tolerance, and growing prosperity in 12 letters that depict America as an agrarian paradise — a vision that would inspire Thomas Jefferson, Ralph Waldo Emerson, and many other writers up to the present. Crevecoeur was the earliest European to develop a considered view of America and the new American character. The first to exploit the â€Å"melting pot† image of America, in a famous passage he asks: What then is the American, this new man? He is either a European, or the descendant of a European, hence that strange mixture of blood, which you will find in no other country. I could point out to you a family whose grandfather was an Englishman, whose wife was Dutch, whose son married a French woman, and whose present four sons have now four wives of different nations†¦. Here individuals of all nations are melted into a new race of men, whose labors and posterity will one day cause changes in the world. THE POLITICAL PAMPHLET: Thomas Paine (1737-1809) The passion of Revolutionary literature is found in pamphlets, the most popular form of political literature of the day. Over 2,000 pamphlets were published during the Revolution. The pamphlets thrilled patriots and threatened loyalists; they filled the role of drama, as they were often read aloud in public to excite audiences. American soldiers read them aloud in their camps; British Loyalists threw them into public bonfires. Thomas Paine’s pamphlet Common Sense sold over 100,000 copies in the first three months of its publication. It is still rousing today. â€Å"The cause of America is in a great measure the cause of all mankind,† Paine wrote, voicing the idea of American exceptionalism still strong in the United States — that in some fundamental sense, since America is a democratic experiment and a country theoretically open to all immigrants, the fate of America foreshadows the fate of humanity at large. Political writings in a democracy had to be clear to appeal to the voters. And to have informed voters, universal education was promoted by many of the founding fathers. One indication of the vigorous, if simple, literary life was the proliferation of newspapers. More newspapers were read in America during the Revolution than anywhere else in the world. Immigration also mandated a simple style. Clarity was vital to a newcomer, for whom English might be a second language. Thomas Jefferson’s original draft of the Declaration of Independence is clear and logical, but his committee’s modifications made it even simpler. The Federalist Papers, written in support of the Constitution, are also lucid, logical arguments, suitable for debate in a democratic nation. NEOCLASSISM: EPIC, MOCK EPIC, AND SATIRE Unfortunately, â€Å"literary† writing was not as simple and direct as political writing. When trying to write poetry, most educated authors stumbled into the pitfall of elegant neoclassicism. The epic, in particular, exercised a fatal attraction. American literary patriots felt sure that the great American Revolution naturally would find expression in the epic — a long, dramatic narrative poem in elevated language, celebrating the feats of a legendary hero. Many writers tried but none succeeded. Timothy Dwight (1752-1817), one of the group of writers known as the Hartford Wits, is an example. Dwight, who eventually became the president of Yale University, based his epic, The Conquest of Canaan (1785), on the Biblical story of Joshua’s struggle to enter the Promised Land. Dwight cast General Washington, commander of the American army and later the first president of the United States, as Joshua in his allegory and borrowed the couplet form that Alexander Pope used to translate Homer. Dwight’s epic was as boring as it was ambitious. English critics demolished it; even Dwight’s friends, such as John Trumbull (1750-1831), remained unenthusiastic. So much thunder and lightning raged in the melodramatic battle scenes that Trumbull proposed that the epic be provided with lightning rods. Not surprisingly, satirical poetry fared much better than serious verse. The mock epic genre encouraged American poets to use their natural voices and did not lure them into a bog of pretentious and predictable patriotic sentiments and faceless conventional poetic epithets out of the Greek poet Homer and the Roman poet Virgil by way of the English poets. In mock epics like John Trumbull’s good-humored M’Fingal (1776-82), stylized emotions and conventional turns of phrase are ammunition for good satire, and the bombastic oratory of the revolution is itself ridiculed. Modeled on the British poet Samuel Butler’s Hudibras, the mock epic derides a Tory, M’Fingal. It is often pithy, as when noting of condemned criminals facing hanging: No man e’er felt the halter draw With good opinion of the law. M’Fingal went into over 30 editions, was reprinted for a half-century, and was appreciated in England as well as America. Satire appealed to Revolutionary audiences partly because it contained social comment and criticism, and political topics and social problems were the main subjects of the day. The first American comedy to be performed, The Contrast (produced 1787) by Royall Tyler (1757-1826), humorously contrasts Colonel Manly, an American officer, with Dimple, who imitates English fashions. Naturally, Dimple is made to look ridiculous. The play introduces the first Yankee character, Jonathan. Another satirical work, the novel Modern Chivalry, published by Hugh Henry Brackenridge in installments from 1792 to 1815, memorably lampoons the excesses of the age. Brackenridge (1748- 1816), a Scottish immigrant raised on the American frontier, based his huge, picaresque novel on Don Quixote; it describes the misadventures of Captain Farrago and his stupid, brutal, yet appealingly human, servant Teague O’Regan. POET OF THE AMERICAN REVOLUTION: Philip Freneau (1752-1832). One poet, Philip Freneau, incorporated the new stirrings of European Romanticism and escaped the imitativeness and vague universality of the Hartford Wits. The key to both his success and his failure was his passionately democratic spirit combined with an inflexible temper. The Hartford Wits, all of them undoubted patriots, reflected the general cultural conservatism of the educated classes. Freneau set himself against this holdover of old Tory attitudes, complaining of â€Å"the writings of an aristocratic, speculating faction at Hartford, in favor of monarchy and titular distinctions. â€Å"Although Freneau received a fine education and was as well acquainted with the classics as any Hartford Wit, he embraced liberal and democratic causes. From a Huguenot (radical French Protestant) background, Freneau fought as a militiaman during the Revolutionary War. In 1780, he was captured and imprisoned in two British ships, where he almost died before his family managed to get him released. His poem â€Å"The British Prison Ship† is a bitter condemnation of the cruelties of the British, who wished â€Å"to stain the world with gore. † This piece and other revolutionary works, including â€Å"Eutaw Springs,† â€Å"American Liberty,† â€Å"A Political Litany,† â€Å"A Midnight Consultation,† and â€Å"George the Third’s Soliloquy,† brought him fame as the â€Å"Poet of the American Revolution. † Freneau edited a number of journals during his life, always mindful of the great cause of democracy. When Thomas Jefferson helped him establish the militant, anti-Federalist National Gazette in 1791, Freneau became the first powerful, crusading newspaper editor in America, and the literary predecessor of William Cullen Bryant, William Lloyd Garrison, and H.L. Mencken. As a poet and editor, Freneau adhered to his democratic ideals. His popular poems, published in newspapers for the average reader, regularly celebrated American subjects. â€Å"The Virtue of Tobacco† concerns the indigenous plant, a mainstay of the southern economy, while â€Å"The Jug of Rum† celebrates the alcoholic drink of the West Indies, a crucial commodity of early American trade and a major New World export. Common American characters lived in â€Å"The Pilot of Hatteras,† as well as in poems about quack doctors and bombastic evangelists. Freneau commanded a natural and colloquial style appropriate to a genuine democracy, but he could also rise to refined neoclassic lyricism in often-anthologized works such as â€Å"The Wild Honeysuckle† (1786), which evokes a sweet-smelling native shrub. Not until the â€Å"American Renaissance† that began in the 1820s would American poetry surpass the heights that Freneau had scaled 40 years earlier. Additional groundwork for later literary achievement was laid during the early years. Nationalism inspired publications in many fields, leading to a new appreciation of things American. Noah Webster (1758-1843) devised an American Dictionary, as well as an important reader and speller for the schools. His Spelling Book sold more than 100 million copies over the years. Updated Webster’s dictionaries are still standard today. The American Geography, by Jedidiah Morse, another landmark reference work, promoted knowledge of the vast and expanding American land itself. Some of the most interesting if nonliterary writings of the period are the journals of frontiersmen and explorers such as Meriwether Lewis (1774-1809) and  Zebulon Pike (1779-1813), who wrote accounts of expeditions across the Louisiana Territory, the vast portion of the North American continent that Thomas Jefferson purchased from Napoleon in 1803. WRITERS OF FICTION. The first important fiction writers widely recognized today, Charles Brockden Brown, Washington Irving, and James Fenimore Cooper, used American subjects, historical perspectives, themes of change, and nostalgic tones. They wrote in many prose genres, initiated new forms, and found new ways to make a living through literature. With them, American literature began to be read and appreciated in the United States and abroad. Charles Brockden Brown (1771-1810) Already mentioned as the first professional American writer, Charles Brockden Brown was inspired by the English writers Mrs. Radcliffe and English William Godwin. (Radcliffe was known for her terrifying Gothic novels; a novelist and social reformer, Godwin was the father of Mary Shelley, who wrote Frankenstein and married English poet Percy Bysshe Shelley. ) Driven by poverty, Brown hastily penned four haunting novels in two years: Wieland (1798), Arthur Mervyn (1799), Ormond (1799), and Edgar Huntley (1799). In them, he developed the genre of American Gothic. The Gothic novel was a popular genre of the day featuring exotic and wild settings, disturbing psychological depth, and much suspense. Trappings included ruined castles or abbeys, ghosts, mysterious secrets, threatening figures, and solitary maidens who survive by their wits and spiritual strength. At their best, such novels offer tremendous suspense and hints of magic, along with profound explorations of the human soul in extremity. Critics suggest that Brown’s Gothic sensibility expresses deep anxieties about the inadequate social institutions of the new nation. Brown used distinctively American settings. A man of ideas, he dramatized scientific theories, developed a personal theory of fiction, and championed high literary standards despite personal poverty. Though flawed, his works are darkly powerful. Increasingly, he is seen as the precursor of romantic writers like Edgar Allan Poe, Herman Melville, and Nathaniel Hawthorne. He expresses subconscious fears that the outwardly optimistic Enlightenment period drove underground. Washington Irving (1789-1859). The youngest of 11 children born to a well-to-do New York merchant family, Washington Irving became a cultural and diplomatic ambassador to Europe, like Benjamin Franklin and Nathaniel Hawthorne. Despite his talent, he probably would not have become a full-time professional writer, given the lack of financial rewards, if a series of fortuitous incidents had not thrust writing as a profession upon him. Through friends, he was able to publish his Sketch Book (1819-1820) simultaneously in England and America, obtaining copyrights and payment in both countries. The Sketch Book of Geoffrye Crayon (Irving’s pseudonym) contains his two best remembered stories, â€Å"Rip Van Winkle† and â€Å"The Legend of Sleepy Hollow. † â€Å"Sketch† aptly describes Irving’s delicate, elegant, yet seemingly casual style, and â€Å"crayon† suggests his ability as a colorist or creator of rich, nuanced tones and emotional effects. In the Sketch Book, Irving transforms the Catskill Mountains along the Hudson River north of New York City into a fabulous, magical region. American readers gratefully accepted Irving’s imagined â€Å"history† of the Catskills, despite the fact (unknown to them) that he had adapted his stories from a German source. Irving gave America something it badly needed in the brash, materialistic early years: an imaginative way of relating to the new land. No writer was as successful as Irving at humanizing the land, endowing it with a name and a face and a set of legends. The story of â€Å"Rip Van Winkle,† who slept for 20 years, waking to find the colonies had become independent, eventually became folklore. It was adapted for the stage, went into the oral tradition, and was gradually accepted as authentic American legend by generations of Americans. Irving discovered and helped satisfy the raw new nation’s sense of history. His numerous works may be seen as his devoted attempts to build the new nation’s soul by recreating history and giving it living, breathing, imaginative life. For subjects, he chose the most dramatic aspects of American history: the discovery of the New World, the first president and national hero, and the westward exploration. His earliest work was a sparkling, satirical History of New York (1809) under the Dutch, ostensibly written by Diedrich Knickerbocker (hence the name of Irving’s friends and New York writers of the day, the â€Å"Knickerbocker School†). James Fenimore Cooper (1789-1851) James Fenimore Cooper, like Irving, evoked a sense of the past and gave it a local habitation and a name. In Cooper, though, one finds the powerful myth of a golden age and the poignance of its loss. While Irving and other American writers before and after him scoured Europe in search of its legends, castles, and great themes, Cooper grasped the essential myth of America: that it was timeless, like the wilderness. American history was a trespass on the eternal; European history in America was a reenactment of the fall in the Garden of Eden. The cyclical realm of nature was glimpsed only in the act of destroying it: The wilderness disappeared in front of American eyes, vanishing before the oncoming pioneers like a mirage. This is Cooper’s basic tragic vision of the ironic destruction of the wilderness, the new Eden that had attracted the colonists in the first place. Personal experience enabled Cooper to write vividly of the transformation of the wilderness and of other subjects such as the sea and the clash of peoples from different cultures. The son of a Quaker family, he grew up on his father’s remote estate at Otsego Lake (now Cooperstown) in central New York State. Although this area was relatively peaceful during Cooper’s boyhood, it had once been the scene of an Indian massacre. Young Fenimore Cooper grew up in an almost feudal environment. His father, Judge Cooper, was a landowner and leader. Cooper saw frontiersmen and Indians at Otsego Lake as a boy; in later life, bold white settlers intruded on his land. Natty Bumppo, Cooper’s renowned literary character, embodies his vision of the frontiersman as a gentleman, a Jeffersonian â€Å"natural aristocrat. † Early in 1823, in The Pioneers, Cooper had begun to discover Bumppo. Natty is the first famous frontiersman in American literature and the literary forerunner of countless cowboy and backwoods heroes. He is the idealized, upright individualist who is better than the society he protects. Poor and isolated, yet pure, he is a touchstone for ethical values and prefigures Herman Melville’s Billy Budd and Mark Twain’s Huck Finn. Based in part on the real life of American pioneer Daniel Boone — who was a Quaker like Cooper — Natty Bumppo, an outstanding woodsman like Boone, was a peaceful man adopted by an Indian tribe. Both Boone and the fictional Bumppo loved nature and freedom. They constantly kept moving west to escape the oncoming settlers they had guided into the wilderness, and they became legends in their own lifetimes. Natty is also chaste, high-minded, and deeply spiritual: He is the Christian knight of medieval romances transposed to the virgin forest and rocky soil of America. The unifying thread of the five novels collectively known as the Leather-Stocking Tales is the life of Natty Bumppo. Cooper’s finest achievement, they constitute a vast prose epic with the North American continent as setting, Indian tribes as characters, and great wars and westward migration as social background. The novels bring to life frontier America from 1740 to 1804. Cooper’s novels portray the successive waves of the frontier settlement: the original wilderness inhabited by Indians; the arrival of the first whites as scouts, soldiers, traders, and frontiersmen; the coming of the poor, rough settler families; and the final arrival of the middle class, bringing the first professionals — the judge, the physician, and the banker. Each incoming wave displaced the earlier: Whites displaced the Indians, who retreated westward; the â€Å"civilized† middle classes who erected schools, churches, and jails displaced the lower-class individualistic frontier folk, who moved further west, in turn displacing the Indians who had preceded them. Cooper evokes the endless, inevitable wave of settlers, seeing not only the gains but the losses. Cooper’s novels reveal a deep tension between the lone individual and society, nature and culture, spirituality and organized religion. In Cooper, the natural world and the Indian are fundamentally good — as is the highly civilized realm associated with his most cultured characters. Intermediate characters are often suspect, especially greedy, poor white settlers who are too uneducated or unrefined to appreciate nature or culture. Like Rudyard Kipling, E. M. Forster, Herman Melville, and other sensitive observers of widely varied cultures interacting with each other, Cooper was a cultural relativist. He understood that no culture had a monopoly on virtue or refinement. Cooper accepted the American condition while Irving did not. Irving addressed the American setting as a European might have — by importing and adapting European legends, culture, and history. Cooper took the process a step farther. He created American settings and new, distinctively American characters and themes. He was the first to sound the recurring tragic note in American fiction. WOMEN AND MINORITIES Although the colonial period produced several women writers of note, the revolutionary era did not further the work of women and minorities, despite the many schools, magazines, newspapers, and literary clubs that were springing up. Colonial women such as Anne Bradstreet, Anne Hutchinson, Ann Cotton, and Sarah Kemble Knight exerted considerable social and literary influence in spite of primitive conditions and dangers; of the 18 women who came to America on the ship Mayflower in 1620, only four survived the first year. When every able-bodied person counted and conditions were fluid, innate talent could find expression. But as cultural institutions became formalized in the new republic, women and minorities gradually were excluded from them. Phillis Wheatley (c. 1753-1784) Given the hardships of life in early America, it is ironic that some of the best poetry of the period was written by an exceptional slave woman. The first African-American author of importance in the United States, Phillis Wheatley was born in Africa and brought to Boston, Massachusetts, when she was about seven, where she was purchased by the pious and wealthy tailor John Wheatley to be a companion for his wife. The Wheatleys recognized Phillis’s remarkable inte.

Importance of “patriotism” during war Essay

Wilfred Owen in his poem â€Å"Asleep† and Andrew Hudgins in his poem â€Å"Listen? The Flies† have analyzed the concepts of death, war and violence. Even though both poets experienced the military actions themselves, they did not describe the life of soldiers and the philosophy of war from the patriotic point of view. On the contrary, in their poems Owen and Hudgins illustrated the most horrible scenes of war that emphasize that war can never be justified because it destroys human life and brings physical and moral sufferings. Both poets portray death as the only way out for soldiers, express compassion towards soldiers as the greatest victims of war and describe low importance of human life as the result of military actions in order to disprove the idea of patriotism that plays upon the mind of soldiers and exploits them for the mercenary interests of their governors. First, Andrew Hudgins and Wilfred Owen justify death to some extent because it rescues soldiers from anger of war and occurs as the natural process unlike war that goes against all moral laws.   When Hudgins talks about war in his poem he describes human life as purity that was shaded by war and turned into putrefaction: â€Å"everything that lives is pitched from purity to putrefaction, back and forth†.   At the same time Wilfred Owen, uses comparison in order to show that death becomes more pleasant than life during war. He compares death to the deep sleep: â€Å"his deeper sleep lies shaded by the shaking of great wings, and the thoughts that hung the stars.† The soldier in the poem has finally got a chance to have some rest after long days of battle. The main characters of both poems are not afraid of death and to some extent they accept it because even death cannot be more frightful than war. Thus, in the poem â€Å"Asleep† Wilfred Owen describes the soldier who does not suffer in his dead sleep because he is â€Å"above these clouds, these rains, these sleets of lead†, above all severe weather conditions, constant attacks and stress from killing and being killed. Moreover, those soldiers who are still alive envy the dead soldier that does not have to wake up in the morning and see the horrors of war again. Similar to Wilfred Owen, Andrew Hudgins refers to Bible to justify death. He uses allusion and gives quotes from the Bible to show that death is more natural for a soldier than war: â€Å"from ash to ash, it says, from dust to dust, with fire and dirty water in between†. Hudgins depicts how soldiers were waiting for death in prison camps praising the flies. The flies are symbols of death that is always near. In the last part of the poem the author killed a fly that got in his room but he knows that there will be more flies in the future. The main character of the poem does not see any point in struggling for life because it’s easier to accept death that is unavoidable during war.   Thus, according to both authors, the horrors of war lead to the condition when death becomes a happy end for a soldier because it sets him free from all the hardships that he has to go through during war and it can be explained by laws of nature. Second, the authors stress the cruelty of military actions by describing the dead soldiers as the greatest victims of war and showing their compassion for them. The length and the concentration of events in both poems are the brightest indication of the authors’ ability to awaken in the mind of readers the same kind of sympathy that both poets have for their characters. The length of the both poems does not let the reader to remain indifferent to the events which take place and arouses the feelings of grief, horror and deep sorrow in the reader’s mind. Thus, the poem of Wilfred Owen is short that enables us to read it at one sitting at the highest degree of excitement. The phrases in the poem â€Å"Asleep† are abrupt that turns the reading into the process when there is a minute to think and move to the next line. The poem by Andrew Hudgins is longer; however, most of the sentences are short and it provokes the reader to pay attention to every detail and not to leave anything without attention. All events which occur in the poem â€Å"Asleep† are concentrated in one place during certain time interval; at the same time in the poem â€Å"Listen? The Flies† the author tells about events which happened in different places during different periods of time. The concentration of time and place in the poem by Wilfred Owen is used because the author wants stay-at-home citizens to be carried to the battle field for a moment, experience what the soldiers experience every day and see the â€Å"backstage† and the reality of war. Lack of focus on time and place in the poem by Andrew Hudgins makes the reader see the war from the different standpoints and contemplate more about the meaning of life. Thus, at the beginning Hudgins describes how he noticed the body of the dead soldier, and then he points out that death took away many people in prison camps, after that he explains death using quotes from Bible and at the end he goes back to the symbolic scene with the flies. Third, both authors illustrate that military victory and destruction of enemies during war have higher importance than life of a person. The soldiers in both poems are described as some human bodies without soul rather than as human beings. In the poem â€Å"Asleep† no one notices the dead soldier; his head â€Å"confuses more and more with the low mould† and his hair becomes of the same color â€Å"with the grey grass of finished fields†.   It seems like the soldier is the machine that is out of order. Andrew Hudgins describes with certain irony the scene when the soldiers â€Å"walked the marsh† and sang the patriotic song; however, their friend was dead. The author portrays how someone’s death can be neglected because patriotic idea supported by political and economic interests plays more important role.   The dead soldiers are heroes because they were killed for their country. However, the question remains whether the interests that they defend are the interests of people or the interests of politicians. Both poems lead us to the conclusion that the consequences of patriotism are death and emotional breakdown. The poets used different techniques to emphasize that the glorious idea of military patriotism is based on political ambitions and soldiers are only instruments. The romantic beliefs about nobility of military actions made both characters of the poems the victims of war whose life lost its value and death became the answer to sufferings and hardships.

The Great American Literature

Both, Samuel Clemens, widely known as Mark Twain, and F. Scott Fitzgerald, the premier writer of the twentieth century's Roaring Twenties, focus their writing on American society. They both masterfully handle their novel The Adventures of Huckleberry Finn and The Great Gatsby, exploring the major societal issues, such as the stratification of classes, concept of American identity to contemporary ethics. The Adventures of Huckleberry Finn is frequently referred to as a social commentary–Clemens's sardonic view of society guised as an innocent adventure novel.Through careful observation Twain gained insight into the heart of humanity and then regurgitated this knowledge into a wry attack on the immorality he saw in society. That society was intrinsically wrong, Twain had little doubt. Atrocities were committed every day, and not just by the ‘white trash' of the South. The well-to-do Grangerfords and Shepherdsons, the ‘respectable' Sherburn, and the powerful middle cl ass all have sullied pasts. Huckleberry Finn also focuses on the indifferent attitude the citizens have toward their crooked deeds, not just the deeds themselves.â€Å"You didn't want to come. The average man don't like trouble and danger. You don't like trouble and danger. But if only half a man†¦ shouts ‘Lynch him, lynch him! ‘ you're afraid to back down–afraid you'll be found out to be what you are–cowards–and so you raise a yell†¦ and come raging up here. † (Clemens 118) This speech can be applied to more than that particular instance; however, Clemens uses it to expose the protection society provides through sheer numbers. When everyone else is doing it, even if everyone else is wrong, the easier route is to follow along.The majority rules, and the actions of the many set the precedent, amending ethics and demanding conformity. The deliberate callousness of the hard-hearted invades the novel through other characters as well, nam ely the Duke and the Dauphin. Ironically, the American families described see nothing wrong in the killings (even ‘amen-ing' a sermon on brotherly love), indicative of the moral break-down in society. As Clemens conjectures in the Adventures of Huckleberry Finn, unscrupulous scruples have become normalized by a culture swiftly headed down the river.Fitzgerald's characters display similar corruptness in The Great Gatsby. Each character symbolizes a different cultural category, from the lower orders to the nouveau riche to the old-moneyed class. Fitzgerald exposes the faults inherent in each group, and forces readers to become aware of their own imperfections. Just as the characters in Huck Finn drift through Huck's life as he drifts along the river, so the characters in The Great Gatsby drift aimlessly through life, their restless hearts never satisfied or content.Due to the characters apparent disconnectedness from American society, they feel no remorse for immoral actions. In a culture so ethically depraved, right and wrong drown in a sea of relativity (Clarke, 2004, p. 135). The upper class's bored indifference towards life is exemplified in Daisy's comment, â€Å"You see I think everything's terrible anyhow†¦ And I know. I've been everywhere and seen everything and done everything† (Fitzgerald 22). Fitzgerald takes the Buchanans and applies them to the whole Upper Class, the stratified social club that writes society's rules and then duplicitously violates them behind closed doors.The Great Gatsby alludes to the fact that money corrupts, questioning â€Å"whether dramatic inequalities in wealth [constitutes] a moral issue† (McAdams, 2005, p. 116). The Buchanan's treacherous affairs and subsequent lack of repentance parallel the Grangerford's and Shepherdson's shameless feud. The characters not only commit atrocious acts but see nothing wrong with their actions. In a society that demands conformity and shrouds iniquitous deeds in pie ty, authors such as Twain and Fitzgerald penetrate America's fabricated lie and wave the banner of morality and individualism.Undoubtedly, both Mark Twain’s The Adventures of Huckleberry Finn and Scott Fitzgerald’s The Great Gatsby could be called the great American novels, both are very symbolic. Nevertheless, I believe that The Great Gatsby is the novel that not only describes but also teaches a lot. In particular, I believe that the American Dream is simply that; a dream and F. Scott Fitzgerald is the best in proving it. Through the tragedy of Gatsby, Fitzgerald shows us what happens when fantasy and reality are brought together. Despite seemingly having everything, Gatsby has nothing.His material wealth cannot compensate for what he lacks emotionally. Like Jay Gatsby, the American Dream will always fail when it is shattered by reality. References Clarke, Richard A. (2004). Against All Enemies: Inside America's War on Terror. Free Press. Fitzgerald, F. Scott. (1993) . The Great Gatsby, Wordsworth Editions Limited, McAdams, Dan P. (2005). The Redemptive Self : Stories Americans Live By. Oxford University Press, USA. Twain, Mark. (2001). Adventures of Huckleberry Finn. University of California Press.

Depression Essay Example | Topics and Well Written Essays - 1750 words

Depression - Essay Example Depression among the old people is a growing global health concern due to the increasing number of old people within the world populace. Despite the disorder being a major mental health problem, little has been done in terms of research studies to uncover the underlying causes, effects, and mental health requirements of the old. Depression among other people especially the young has been extensively studied and documented due its effects that cause major problems to the health wellbeing of people. Little literature from various research studies targeting depression among the old people is a source of valuable knowledge of the nature, causes, and the mental health effects it has on the old people. Systemic review of research articles on depression among the old provides a synthesis of information collected to give an in-depth view of the disorder. Depression is a state characterized by low moods and hate of activity, which interferes with an individual’s behaviors, feelings, sense of well-being, and general thought process. Depression is one of the major psychiatric disorders that have residual effects on the mental health wellbeing of individuals (Park & Jun, 2013). Depression is characterized by feelings of hate towards activities, loss of memory, cognitive abilities, and general concentration. These lingering symptoms have lasting adverse effects on the mental functionality of an individual. A major problem with the disorder remains the inability of the individuals suffering from the disorder and the people surrounding them to diagnose the disorder. The disorder is more pronounced among the elderly due to the isolation, dependency on others, and failure to diagnose and treat it. Coupled with this is the increased push by governments to cut healthcare costs in the midst of already constrained medical budgets. The eld erly therefore face a problem in that healthcare is already unavailable due to financial

Court Report Case Study Example | Topics and Well Written Essays - 3500 words

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International Management Essay Example | Topics and Well Written Essays - 1500 words - 1

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